NEFCISA
NEFCISA

The Music In Africa Foundation (MIAF) is proud of its partnership with the Industrial Development Corporation (IDC) as a Strategic Implementing Partner (SIP) for its Social Employment Fund (SEF). Through this collaboration, MIAF is running a national programme that is creating jobs, addressing skills gaps, and strengthening South Africa's creative industries — in line with the SEF's overarching goal to generate work for the common good and build community value through employment, social contribution, and inclusive economic participation. Operating under the banner NEFCISA (National Employment Facility for Creative Industries in South Africa), the initiative is recruiting and training participants, matching them with host organisations, and has already placed 1 500 workers across the country — surpassing its original target of 1 000. NEFCISA is delivered through a network of 20 host organisations spanning five provinces, who are actively hosting participants and contributing to work for the common good across South Africa's creative and cultural industries. Key Objectives: Support employment and entrepreneurship in the creative industries. Offer skills development and training programmes. Foster partnerships between public and private creative sectors. Promote South African creativity at both provincial and national levels Foster community development through social contribution.

ACCES
ACCES

ACCES Conference and Showcase Festival is Africa's leading music industry gathering, bringing together the people shaping the future of the continent's music business. Artists, entrepreneurs, executives, investors, policymakers and cultural leaders from across Africa and around the world come to ACCES to build partnerships, exchange ideas, discover talent and create new business opportunities. Since its launch in 2017, ACCES has become the continent's premier platform for professional exchange and music market development. Combining a high-level conference with a curated showcase festival, networking, exhibitions and industry programmes, ACCES offers a unique space where creativity meets business and where African music connects with the global industry.

Gender@Work
Gender@Work

Music In Africa Gender @ Work is a three-year training programme aimed at upskilling and increasing the participation of female professionals in the African music sector. Launched by the Music In Africa Foundation (MIAF) in April 2019, the programme is connected to the MIAF’s ACCES music conference – a pan-African event held in a different African country every year. This connection enables the programme to reach new participants in a different African country every year. The programme marks the beginning of a more concerted effort by the Foundation to support the participation and inclusion of women in all facets of its programmes and the music sector in Africa as a whole. Over the three years, the programme will aim to address gender imbalances in the sector through training, lobbying, facilitating knowledge exchange and dialogues that foster the interest of women. The broader objectives of the programme are to: Provide industry training for women on critical music industry skills, focusing on: Stage management Electronic music production and recording Music business management Technical knowledge Provide an opportunity for both professional and aspiring women to benefit from the Music In Africa network and its broad range of activities in 2019, 2020 and 2021. Provide a solution-based platform in the form of a round table at ACCES with a view to identify challenges, discuss opportunities and lobby for the interests of female practitioners. Offer participants the opportunity to benefit from programmes offered by MIAF’s partners. Increase access to educational materials. Integrate participants in the broader ACCES programme to maximise experience and exposure to the industry. Record and present training materials on the www.musicinafrica.net, including but not limited to tutorials, templates and other best-practice materials. Communicate women-based themes that support the initiatives and messages of the programme. MAIN TRAINING ACTIVITIES Training in first country (Ghana): In the first year, participants will be trained on all aspects of stage management by a team of experienced stage managers from 10 to 17 November 2019. The programme will offer robust classroom training as well as practical, hands-on training in which participants will also be given the opportunity to manage various aspects of the ACCES performance programme. Training in second country: The second training iteration will take place at ACCES 2020 when the programme will diversify its course to include music production lessons and training on other music business topics. A round-table platform will also be introduced to coincide with the ACCES programme. Training in third country: The third training iteration will take place at ACCES 2021 in a different country, offering an advanced course. HOW DO YOU GET INVOLVED?  As a participant, facilitator or trainer: The programme enrolls up to 12 trainees every year. All opportunities are advertised publicly on this website, and will be added to this page. Please keep checking this page for new calls (below under UPDATES & CURRENT OPPORTUNITIES). As a partner Please contact Claire Metais at [email protected]. APPLY The call for applications for 2020 will be announced soon. The Music In Africa Gender @ Work programme is made possible with the support of the Prince Claus Fund, Siemens Stiftung and Goethe-Institut.

Sound Connects Fund
Sound Connects Fund

For cultural and creative practitioners and organisations operating in southern Africa, access to funding remains a major challenge. The COVID-19 pandemic has also had a massive impact on government policy, spending and the economy in general, and has seen spending on culture being moved further down the list of priorities. Further, the cultural and creative industries repeatedly cite four main areas where investment is needed for growth, which are increased visibility, mobility including access to new markets, finance and support structures.

Instrument Building And Repair Project
Instrument Building And Repair Project

Experience the Vibrations African Instruments Exhibition online in 3D

music revenue

A comparative analysis of music streaming and data costs: SA vs US

26 Feb 2020 - 12:29

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The Recording Industry Association of America (RIAA) recently reported that streaming revenues in 2019 exceeded the entire recorded music market of 2017. In France and Germany the music markets follow similar trends with music streaming revenues contributing the majority share in the industry. Sadly, these patterns are not mirrored by South Africa ‒ one of Africa’s biggest music markets ‒ as digital music streaming continues to lag behind the rest of the world due to high data costs. This piece draws an illustrative picture of the lived experience of data costs in SA compared to the US.

musicstreaminginsouthafrica

Market comparison

Although more than 140% growth on average in music streaming is reported in Africa the relative growth of the market is not on par with music markets around the world. The US statistics indicate that music streaming, for the fourth consecutive year, recorded double-digit gains with the total recorded music revenue jumping from $9.8bn in 2018 to $11.1bn in 2019, representing a 13% increase. At 79% streaming revenues contributed the most to the recorded market, this is according to the RIAA report (summary attached below).

This indicates how digital music streaming has evolved music markets around the world in the last decade. In SA, based on 2018 data, total recorded music revenue including podcast revenue was R1.017bn. Music streaming contributed R325m, representing 32% of the total recorded music market. The contribution will rise to 51.8% in 2023, based on the forecasted growth rates. Statistics for 2019 were not readily obtainable. This shows that three years ahead the relative growth in the music streaming market in SA will not perform as well as the US music streaming markets did last year.

As a side note, more than 60.4 million Americans paid for music streaming in 2019. This was a giant leap from the less than 11 million Americans who were subscribed to premium music services in 2015. A reliable statistic for paid subscribers in SA could not be found. But a study conducted in 2016 showed that although there was a high interest to subscribe to paid music streaming services in the country, the majority of South Africans stop using the facility in the end.

Music streaming revenue per capita

Based on US population of 329.45 million (US Census Bureau's population clock), music streaming revenue per capita is $33.69. This is each individual’s contribution to the country’s total music streaming revenue. In comparison, 57.9 million South Africans each yield R17.55 ($1.067 on XE).

A simple illustration using the Big Mac Index (BMI), an economic indicator which accounts for purchasing power parity thus adjusted exchange rates to show the the real value of the rand, SA music streaming revenue per capita, using the current index of 2.15 can buy almost half (0.49) a Big Mac burger, whereas the US streaming revenues per capita, at and index of 5.67, can get almost six burgers (5,94). This means US citizens are contributing 12 times more streaming revenue than their counterparts in SA. This, despite South Africa having a bigger appetite for with more music fanatics/lovers (75%) than the US (62%), as well as the global average (54%), according to the IFPI report.

Number of hours listening to music

South Africans also listen to more radio (7hrs) than the global average (5.4hrs). More than 35 million people listen to radio stations in the country, with approximately 28.6 million tuning in every day (2016 data). The global average time spent listening to music is 18hrs which we can assume should be higher in SA. However, on average only 1 hour and 7 minutes per day are spent streaming music in South Africa (We Are Social, 2018).

The majority of users access internet on mobile devices making mobile data a significant factor in determining accessibility. A total of 31.18 million active internet users of which 28.99 million active mobile internet users (Statista, 2019).

Data

The Alliance for Affordable Internet says data accounts for a larger portion of South Africans when compared to their counterparts in the US. The organisation defines affordability as the price of 1GB of mobile broadband data that does not exceed 2% of average monthly income of a person. In Africa, 1GB of data costs roughly 8% of income of the average person, this compares to only 2.7% in the US. Essentially, if the US consumer paid the same amount for 1GB of data as SA, data would cost more than R300. A breakdown of the figures and calculations were not provided.

A test conducted by My Broadband established that on a Spotify premium audio quality rate of 320Kbps using a mobile phone, 10 hours of music streaming per week would cost R42.03.

Based on 18hour global average, assuming the listeners only listened to music through a streaming service, if they were to convert from radio to music streaming it would cost more than R302,62 p/m (R75.7x4) for streaming along in addition to subscription services. Accounting for roughly 10% the monthly income of minimum wage earners, which is majority of South Africans.

Required working hours to get 1GB in SA versus US

Using the average of data in each country and the minimum wage shows much the average South African would have to work to acquire 1GB of data compared to their counterparts in the US. In SA, the average cost of purchasing 1GB is R106, compared to $13 in the US. Given the current minimum of R20 per hour in SA, it would take minimum wage worker 5.3 hours to acquire 1GB of data. Whereas in the US, with a minimum wage of $7.25 it would take 1.7 hours to get 1GB of data, more than three times less the time taken in SA. The time becomes significantly less (1,05) in states like California where minimum wage is $12 per hour. And considering the majority of US workers earn significantly higher than the minimum wage, most Americans work less than an hour to get 1GB data. But in SA the majority of population makes minimum wage. In fact, more than 29% of the population earns less than the national prescribed minimum wage. And the majority needs to work more than 5 hours of work must be put in before getting 1GB of data. At the high unemployment rate of 29% (3.5% in US) access to the internet let alone music streaming continues to be an elusive luxury.

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